Sorry! This event has passed. Check out our Calendar for other great shows and events
Laura Love in the Haymarket - 7/5/18Thursday, July 05 2018 6:00pm Doors / 7:30pm Start
Laura Love in the Haymarket - 7/5/18
at City Winery Boston
$16 in Advance / $18 at the Door
After taking nearly a decade off the festival/touring circuit, to live off grid, grow her own food,
and raise her daughter, Laura Love is again returning to the stage to continue where she left off.
She felt “compelled to get back on the road, reach out to other human beings, spread kindness
and try to heal,” from what she has described as a “savage couple of years” which left her
battling to recover from a brutal assault, followed by the sudden suicide of her beloved sister,
To that end, Love exploded back onto the festival scene in 2017, taking the Kate Wolf,
Strawberry, Valhalla and Philadelphia Folk Music Festivals by storm. With these powerful
performances she and her stellar guitarist, Terry Hunt, showcased a whole new batch of songs
that left audiences leaping to their feet, mid-set and some concert-goers telling her “she was
even better than she’d been years ago.” She has expanded her story-rich, socially conscious
repertoire to include Field Hollers, Civil Rights Era Songs, and Gospel music into her deep
catalogue of original songs.
In addition to her musical accomplishments, Love wrote a harrowing but hopeful memoir, which
was published by Hyperion Books in 2004. You Ain’t Got No Easter Clothes chronicles her chaotic
childhood with a suicidal and schizophrenic single mother. When her mother was confined to
mental institutions, Love and her sister bounced around living in orphanages, foster homes,
convents, and homeless shelters. Their biological father – jazz saxophonist Preston Love who
worked with the Count Basie Orchestra, Lena Horne, Billie Holiday, and Ray Charles – was not
present in Laura’s Laura’s Laura’s life, busy with his career and his wife and five other children. Although
wrenching, the tale of survival is laced with Love’s trademark wit. Just to make it interesting, s
Laura has also recently published a new follow up b Laura ook, (available on Amazon.com) to her
critically acclaimed 2004 Hyperion memoir--this one about her year of traveling with the Occupy
Movement in 2011. It’s called, Nights in Tents and we hope you’ll pick it up today because, as
she often says, “It’s a GAS!”
Media, fans, and record labels have struggled to define this inimitable musician’s colorful style,
which embraces bits of the blues, bluegrass, jazz, folk, gospel, reggae, and country. However,
Laura Love has sometimes called her music “Folk-Funk Laura Love ,” “Afro-Celtic,” or “Hip-Alachian.”
Regardless of how she is described, Laura has an indisputable and uncanny knack for enthralling
audiences from all walks of life, from octogenarians who line up to hear straight-ahead bluegrass
to the pierced-and-tattooed set to their middle-aged parents.
THE NEW YORK TIMES proclaimed, “Her music is exuberant. ...She conveyed the fervor of
someone reaching out with an almost frenzied joy to seize the strand of a confusing life and
weave them into a coherent, life-affirming vision.”
Love has been called “startlingly original” by Bill Love board magazine. “Her music is spare, yet striking.
Her voice is ripe, supple, strong, and impossible to ignore.”
A rare recording artist who is authentic and deeply rooted, Love exhibits timeless and diverse
appeal. Droves of fans throughout North America, Australia, and Europe apparently agree. Her
CDs have repeatedly made Billboard’s annual Top 10 lists. She has played for massive crowds at
various festivals and venues, including New York’s Carnegie Hall, San Francisco’s Great American
Music Hall, Royce Hall in Los Angeles, Washington Center for the Arts in Olympia, and the
Aladdin Theater in Portland, Oregon. Her festival appearances include the Newport Folk Festival
(RI), Telluride Bluegrass Festival (CO), Strawberry Festival (CA), Merlefest (NC), Kate Wolf Festival
(CA), Falcon Ridge (NY), Philadelphia Folk Festival, and Boston Folk Festival; Women in e-Motion
(Germany), Port Fairy, Brunswick, Blue Mountain, and Adelaide Fringe Festivals (Australia); and
nearly every music festival in Canada, including Montreal Jazz and the Vancouver, Edmonton,
Calgary, Mariposa and Winnipeg folk festivals.
After releasing five independently produced CDs from 1990 - 1995, Laura spent a decade
working with major and boutique record labels. Her Mercury/Universal releases, co-produced
with multi-Grammy award winner Joe Chicarelli, were critically acclaimed and increased her sales
from 2,000 a year to 60,000 a year, but alas, highly diverse and unique artists are not easily
marketed above ground and Laura was lost in the corporate shuffle of the big leagues. She was
perfectly happy to be dropped from Mercury after her second album with them and move on to
smaller labels more suited to her values and aesthetic. Laura released four CDs from 2000 - 2005
on Rounder/Zoe and Koch.
By 2007, Laura had grown increasingly alarmed at the regression of race relations in the U.S. and
decided it was time to return to her roots as a light-skinned African American girl, growing up
during the 1960’s at the very height of the Civil Rights Movement. She assembled a quartet
called HARPER’S FERRY and resurrected her old label, Octoroon Biography, to release NeGrass
(pronounced “NEE-Grass”), her bold collaboration with Grammy and IBMA award winners Tim
O’Brien, Tracy Nelson, Rob Ickes, Scott Vestal, Jeff Autry and Mike Bub. NeGrass was named the
Best CD of 2007 in the Alt Country category by the Indie Acoustic Project.
In the fall of 2009, Laura released her 11th CD on Octoroon Biography/OJM records titled The
Sweeter The Juice - a collaboration with an acknowledged master of country blues guitar and
dobro, Orville Johnson. On this record, Laura cements her new focus on social issues, race
relations in America and her own family’s experiences, dating all the way back to slavery.
Laura is currently recording a new CD of original s Laura ongs which will be released late Winter/early
Spring of 2018.
In 2016 Melbourne-based musician Liz Stringer unveiled her fifth studio album, “All The Bridges”. Recorded in 2015 at Type Foundry Studio in Portland, Oregon USA with respected engineer/producer Adam Selzer (Jolie Holland, M Ward, The Decemberists), the album was released in Australia (Vitamin Records) and North America
(Toronto label Roaring Girl Records) on July 1st, 2016. "Anyone" recalls a Chrissie Hynde-like balance of unsettling lyrical directness and pop composure.’ -Rolling Stone
Canadian magazine Exclaim! premiered the exclusive early stream of the album, giving it four stars and offering, “All The Bridges blows in like a gust of fresh antipodean air, revealing a vibrant and assured talent.” “All The Bridges” has continued the solidification of Stringer’s reputation for the highest quality musicianship, creative autonomy and blistering live shows, after she completed a 20 date National Tour in 2016, playing sold out venues and major festivals with a touring band in all bar one state and territory of Australia. “All the Bridges’ “...gives us the most imposing distillation of Stringer yet... transcending the influences of individual producers, musicians and genres” –Martin Jones, Rhythms Magazine Not content with conquering the local scene, Liz has recently toured in Canada, Germany, Austria and the Netherlands, and has attended several international showcase conferences, including the Folk Alliance International Conference in Kansas City and the Americana Conference in Nashville.
In 2016 Stringer appeared at Woodford, Cygnet, Illawarra, Mullumbimby and Queenscliff music festivals in
Australia and the Stan Rogers Folk Festival, Rollo Bay Fiddle Festival, Festival of Small Halls and ArtsWells in Canada,
with All The Bridges making the ABC Radio National Inside Sleeve’s Top 5 Albums of 2016 and ‘Best Australian
Release’ from Basement Discs, Melbourne.
Stringer’s 2017 kicked with an east coast Canadian tour in February with Roaring Girl Records label mate Tim Moxam
and a Toronto based rhythm section, appearances at the Gum Ball in the Hunter Valley, NSW and the
production of a ground-breaking new interview series in Melbourne over the month of June, in which
Stringer hosted four of Australia’s most loved and well-known songwriters infront of a live audience. July saw
her return to Canada for a Summer of shows and the release of brand new single, “Leave It Behind”, a duet
with Tim Moxam, which gained extensive CBC airplay in support of their accompanying eastern Canadian